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Yep. That’s the version I have. There is no way two amateur orchestral harpists are going to play that part in tandem. My death wish only goes so far.
Really?! Both of us harpists looked and never found another part for P & M. The conductor never came up with it, either. The version the orchestra is using is from islmp. Well,too late now. Performance is next week. If you can tell me where to find Harp II, I’ll play it in my head while I watch:)
Tacye,
I am not going to get in a protracted discussion about the physics of wire strings. I am just parroting what the tech told me. He works on harps everyday and sees what happens over time. I figure he is the expert, and I (the non-scientific harpist) will follow his advice. I keep my harps in perfect condition so to change the wires every two years is just a not big deal – time or money-wise – and certainly, not in comparison to the cost of a concert grand harp or repair. Besides, the harp simply just sounds so much better with new bass wire strings.
Andelin, change the wires. Keeping them on so long is not good for the harp according to the harp tech. The continuous tightening causes too much tension on the harp. I replaced my wires in November. My harps sounded so much better and more open. Do it. Make sure you use the correct strings. There are some good tutorials on youtube.
PS/ I admire your courage admitting you had kept the wires on so long:) And, how old are your other strings? Perhaps, they are due to be changed, as well….
Hey, David, I have another conductor story for you. I played last Spring in a local orchestra and was asked then to play harp for the next season’s performance of Pelleas et Melisande. I was contacted by a fellow harpist late summer that the same conductor asked HIM to play the part. He knew I had been asked. I have no idea whether the conductor forgot, wasn’t thinking, or I was fired. The conductor kept insisting the part could be played on two harps and my harpist friend kept saying no. Anyhow, the other harpist is far more experienced in orchestral harp (which I find very stressful: I applaud all orchestral harpists) so I just let it drop. I’ll watch him play my part in two weeks:)
Myds, this isn’t specifically about a Salzedo (although my instructor had one, and I rented a Salzedo for a year before getting my new harp), but I would suggest you give Lyon Healy a call and ask them for instructions on how to break in the harp. For mine, I was told to vigorously play the highest octave for a couple days, then work my way down the harp the same way. I did this at least 3 times a day. You don’t have to play music, just actively pluck the strings for a good five to ten minutes in the octave. It could be that because you are a student, you are not giving your harp enough of a workout when you practice to break it in. My harp took about 18 months to really break in. It just kept getting better and better gradually.
Tacye, those are great thoughts. I went from one concert grand to another from the same harp maker so adjusting technique didn’t even factor into my thinking.
I would make a call to Lyon Healey and express your concerns. It could be that you simply need another set of bass wires. Your harp is still under warranty. The reps there should be able help you out.
I bought a new harp (not LH) two years ago. I did not pick it out personally but used the advice I trusted of the harp rep. When I got the harp, I wondered what I had done to myself. It was stiff to play and sounded soft and wimpy. I was assured when this particular harp was broken in – and it can take a couple years to get its full voice – it would be fantastic. I carefully followed the instructions about how to break in the harp. Here it is two years later and the sound is spectacular, the harp much easier to play, and is an overall great harp. I hope that your Salzedo just needs a little more time to break in.
I have all my pedal markings in between the staffs. I put the note, i.e. C# in the place I will make the pedal changes. Some I put in ( ) to remind myself they may be coming up or quickly on the next page. I think the most important tool I have is my iPad recorder. It is my truth machine.
I’ve also found quite a few places where I make note changes. I just finished going through a piece in which I changed all the Db to C#. I think there is a lot of trial and error in modern compositions. You have to be creative sometimes to make things work on the harp.
Saul, I am very well aware of Kirsten’s very accomplished harp playing. I am just suggesting she connect with Bridget because of their mutual interest in contemporary music. I don’t think it was necessary to the thread to compare Bridget and Kirsten.
Brook, thank you for your clarification about “Tabernacle” and “Temple.” Please pardon my ignorance. BTW, I love your piece “Upon the Willows.” I have played it several times for communion.
Kristen, You may want to contact harpist Bridget Kibbey. She is a champion of contemporary music and has commissioned a number of new works.
Kirsten, I play with a professional Cuban guitarist who is also teaches at the university level. I’ve learned more about rhythm, timing and contemporary technique from him than any lessons or other playing experience I’ve had. I just let him “yell” at me until I get things right:) Our practices are always teachable moments for me. I guess what I am saying is to seek out someone who knows more than you to share ideas and be a coach – it does not have to be a harpist.
Saul, if anyone can play like Emmanuel, they can also play a red harp or any color they please:) I think a lot of thought went into this harp. I’m just grateful that Emmanuel was able to play solo at the Mormon Tabernacle Temple.
